Enlarged with AI from a smaller original
Sketchy elephant with watercolour splash on forearm
Forearm · Mixed · Photo
A small cartoon elephant sits with its trunk raised, drawn in loose black sketch lines with grey shading on the body. Soft blue, purple and pink watercolour washes spread behind the head and body, with a few speckles around the base. The tattoo is centred on the forearm against plain skin and a dark background.
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A story inspired by this tattoo · fiction
The court wanted the calf standing for its portrait, because a sitting elephant, the Chancellor said, looked like a debt. Pell had other ideas. He lowered himself onto the flagstones of the east courtyard with the dignity of a bishop taking a chair, folded his grey legs beneath him, and lifted his trunk towards a sky without a single cloud in it.
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I was the only scribe in Ostreth who could draw with a loose hand, so the task fell to me. I worked in pencil first, quick lines that did not pretend to be exact. The Chancellor paced behind me muttering about the drought. Every time I looked up, Pell was still there with his trunk held high, as though he had ordered the sky to come down and was waiting with great politeness for it to obey.
By noon I had shaded his body in grey, and nothing had happened. So I reached into my satchel for the cakes of colour and did what I was not supposed to do. I washed the sky behind him in blue, the river beyond the wall in purple from the dye-wife's jar, and a blush of pink along his cheek where the light had caught him. The Chancellor shouted. Pell only blinked.
That evening the first drops fell on the palace roof, warm and smelling of iron. The Queen hung my sketch above the throne, and nobody ever asked why the rain had started on the day the elephant sat down. I like to think he simply wanted to be painted, and that the sky, like the Chancellor, could not refuse him.
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